Grant Summary
Artist Statement
LISTENING WITH MY HANDS. Language appears to me in type like images to a painter. I hear voices in janky, letterpress type—imperfect impressions sing. I like to build my broadsides in public spaces as I loosely work distilling content. I find connective tissue between ideas to map larger cultural conversations. In an era of online perfection and rapid-fire judgment, we feel our digital failures acutely. We need analog connection—the forgiveness found in the handmade. Strength and frailty of paper. Think of a note that is folded and unfolded, carried around compared to a text. My work is meant to be tucked into a pocket, or passed along to a friend. In 2019, I was fingerprinted at Oregon State Pen for my volunteer badge. The lieutenant took my hand and asked if I worked with paper, as my fingerprint ridges were worn away. Just that morning, I handed out 600 postcards to students that carried my impression. A communion via ephemeral multiples. I am assured: the universe is indeed analog.
  • Fragment: Ground Beneath Us” Folsom50 Correspondence Journal 2020, Tracy Schlapp Letterpress artist book, 36 pages, edition of 15, 7 by 5 inches. Courtesy of the artist.

  • John Henry Tweets: “Coronagraphy” print performance 2015, Tracy Schlapp Real-time letterpress printing collaboration with poet Samiya Bashir Eight broadsides, each measure 19 x 13 inches, Museum of Contemporary Craft, Portland, Oregon Photo documentation by Mario Gallucci.

  • Folsom50: “CASH: Music, Legacy, & Redemption” playbill for Season 1 of Oregon Prison Tour 2018, Tracy Schlapp Letterpress artist book, 12 pages, 7 by 5 inches, South Fork Correctional Facility, Tillamook, Oregon June musical performance by Luther’s Boots Photo documentation by Steve Steckley.

  • Redemption Print #3 2020, Tracy Schlapp Letterpress broadside, artist proof, 14 by 7 3/4 inches. Courtesy of the artist.